At a time when so many Americans are disgusted with the personhood of corporations, it's surprising that more persons don't move to secure their expanded rights. Dan Graham notes, “Jasper Johns was the first American artist to fully understand that the newly subjectivized advertising icon and the gestures of Abstract Expressionist painting—which struggled against the cultural domination of this new form—were virtually identical.”1 The place of the (white male) individual and his potential for transcendence had already merged with corporate strategy. Warhol began operations at his Factory in 1962, and by 1966 Foucault proclaimed that man “would be erased, like a face drawn in sand at the edge of the sea.” In 1978, the band Devo told The SoHo Weekly News that they’d decided to “mimic those who get the greatest rewards out of the business and become a corporation."

According to Bernadette Corporation, “Mock incorporation is quick and easy … no registration fees, simply choose a name (i.e. Booty Corporation, Bourgeois Corporation, Buns Corporation) and spend a lot of time together. Ideas will come later.” Bernadette Corporation was founded in 1994 as "the perfect alibi for not having to fix an identity."2 Similarly, the Bruce High Quality Foundation employs a post-individual aesthetic while using the language of a endowed institution as opposed to a corporation. Yet the post-individual kernel is clearer in the Foundation’s mission, which presents itself as the arbiter of the estate and legacy of “the late social sculptor” Bruce High Quality. The Foundation is founded on the negation of an already fictional identity. The Icelandic Love Corporation, based in Reykjavik, adopts the title of a corporation without jettisoning their identities.

Corporate art practice challenges stale narratives of contemporary art, which resuscitate themes and tropes of 20th century conceptualism. By claiming the featureless corporation as the active artmaker, BC and other similar façades maneuver around cliché and retreat from the individual artist-archetype: a character to be media-narrativized into a pop-psychological explanation of their noble craftsmanship or pathology of resistance.

Corporations, much like contemporary art, have a unique relationship with the iterable. In an essay discussing the irony of the corporate sponsors of the San Diego Zoo, critic and writer Chris Kraus explains, “Like contemporary art, corporate linguistics seeks to eliminate the dreary mechanics of cause and effect. Shit happens. People demand.”3 Corporate language rests on clichés that are instantly understood. Phil Spector reportedly wondered, “Is it dumb enough?” while listening to “Da Doo Ron Ron.” The question that defined popular music has as much bearing on contemporary art: unencumbered by the boring (Kraus’ “dreary mechanics”), only that which is instantly understood remains. That which is dumb enough.

The artist Ed Fornieles, whose work includes the trend-forecasting agency Recreational Data and the management training company Coaxiom, indicated to me that part of what he likes about working with corporate aesthetics is the power of boring corporate cliché both in language and imagery. “Corporations have their own logic,” Fornieles told me. “It doesn’t always have to be about me.” In a sense, engaging with corporate style makes transparent a generic corporate aesthetic—visible in promotional materials, architecture, offices, commercials— which is both recognizable and unfixed. What’s appealing about something so blandly real is its ability to blend into the fabric of reality without the risk of a unique stake or identity...

Looking back at and consolidating the year in exhibitions is one of the more challenging tasks an art writer faces. Tracking trips to shows throughout the year, and more importantly, the evolution of your feelings about them, is a daunting, sometimes insurmountable task. While in Europe this spring and summer, I was lucky enough to view some of the exhibitions I found more momentous and personally resonant. Starting in Italy with the 54th Venice Biennale, I traveled up to Switzerland through Geneva and Basel, heading next to the UK and landing finally in Berlin. The list below reflects both personal favorites and those that I felt to be important in the confluence of art and technology.

Josephine Pryde, “Embryos and Estate Agents: L’Arte de Vivre” at Chisenhale, London

British artist Josephine Pryde bears the unique ability to successfully navigate both photography and sculpture, two mediums which seem almost diametrically opposed. Up until this year I’d only been familiar with Pryde’s sculptures of half-finished baskets precariously suspended by butcher hooks, shown at Galerie Neu in Berlin last year; as well as her strange, oversized macro photographs of fabric, featured at Reena Spaulings in 2009. For her presentation at Chisenhale, “Embryos and Estate Agents: L’Arte de Vivre,” Pryde presented two sets of photographs. The first takes medical images of fetuses, superimposing them in Photoshop against barren desert landscapes; the second stages stock photography-style portraits of young, alternative-looking women contemplating whether or not they’re pregnant. Beyond Pryde’s fascinating material practice is her confrontation of oft-taboo, extremely personal, female-specific issues generally elided in contemporary art discourse.

Cory Arcangel at the Whitney Museum of American Art, New York / Hamburger Bahnhof, Berlin

Arcangel Fever spread around early spring 2011 as his Whitney retrospective drew near, the artist being asked by a vertiginous number of New York media outlets to grace them with pre-opening press. The show sparked some lukewarm reviews